Tweak your Slides, workshop on visual design for educators. This is draft 3, which includes examples of my own past slide shows and revisions of these shows.
2. T W AES
ELID K!
YO UR S design princi ples for educ ators.
Ten visual
Presented by: Chiara Ojeda
cojeda@fullsail.com
tweakyourslides.wordpress.com
Image: KimberlyFordPhotography
9. Contrast increases understanding.
Making elements different
Repetition
Repeat visual elements to create strong unity.
Alignment
Nothing should be placed arbitrarily. Placement illustrates
relationships between elements.
Proximity
Related items should be placed together.
14. Choosing Fonts
Use
1 Title, body, serif vs. multiple
emphasis
font/weight sans serif text
boxes
Pair text Font must be
with Dafont.com installed to
visual work
31. Coherence in a Paragraph
Stick to the point: The ideas have a clear and logical relation to each
¨
other.
Put details or examples or incidents in logical
¨
order.
chronological
in relation to each other
in order of importance
32. Ensure your
paragraphs are
coherent.
stick to
Put details t he point
in logical
order:
Consider
a. chronology hierarchy
b. relationship
c. importance
34. ž Symbols are used in conjunction with the other elements of
short stories…
ž Symbolic settings
› call attention to theme
› Reveal the personality of the characters
› Create unity
› Consider Oates’s use of the suburbia in “Where Are
You Going…”. How does the setting affect how the
characters are developed/how they interact?
41. Character Development and Analysis
} Theway a character is developed in a
story is what often times makes fiction so
enjoyable. Readers can identify with
characters and can associate with their
own personal struggles. Even in
extraordinary circumstances, characters
will act and react in generally traditional
human ways. If we are able to relate to a
character in some way, then the author has
done his or her job.
47. Common Problems
Aren’t gnomes neat! This picture has no space
for text, but it’s really neat and I have lots to say
and put on the slide, so I don’t really care if
there isn’t enough space. Gnomes rule!
Background and content
competing
58. Rising Action and One could argue that the entirety of Books/Films I and II (The
Fellowship, The Two Towers) is all rising action and false summits.
False Summits Frodo does not confront his climax until Book/Film III.
Once having traversed
Gollum brings tension
the threshold, the hero … between Sam and Frodo
must survive a succession
of trials.
--Campbell
Frodo Confronts the
Ringwraiths at
Weathertop (fear) Gandalf is lost in Moria (grief) Faramir detains Frodo (hope in
humanity is restored
After a series of trials, Frodo and Sam move
Frodo becomes the ring bearer towards Mount Doom (emotional exhaustion;
(trepidation; uncertainty about the hopelessness)
future)
59. Falling Action and Resolution
In LOTR, the parallel story lines converge
He [must] re-enter … where and the conflict of the story is resolved. At
men who are fractions imagine the end of the story, Frodo’s emotional
balance is restored, but he cannot return to
themselves to be complete. -- the carefree hobbit of the beginning of the
Campbell story and leaves Middle Earth for the Grey
Havens.
The Scouring of the Shire (Frodo’s final
test)
Rescued by the eagles (relief; a return
to certainty)
Aragorn is King (happiness; jubilation)
Frodo leaves Middle Earth
60. USE EMPTY SPACE TO
PROVIDE VISUAL
BREATHING
ROOM
Image:NazliG.
61. #8: DO NOT...
CREATE
dissonance
Image: x-ray delta one
62. Climax: Frodo Destroys the Ring
The Climax of LOTR comes with the
destruction of the Ring. In the text,
Frodo is not directly involved in the
destruction of the ring. Gollum’s joy
at retrieving his “precious” is what
begins the resolution of the plot.
This resolution is not entirely positive
The hero-quest requires that the hero for Frodo, as he has to struggle with
return. The responsibility has been
being corrupted by the Ring.
frequently refused.
--Joseph Campbell
63. DO AMP
CON UP T
HE
T RAS
T
Image: Tiago Daniel
67. ¡ P
–
Purpose
–
Why
am
I
wri)ng?
§ Informa)on?
Persuasion?
Personal?
Entertainment?
etc.
¡ A-‐Audience
–
Who
am
I
wri)ng
to?
§ Rela)onship
to
writer,
age,
)tle,
beliefs/preconceived
ideas,
needs,
knowledge/educa)onal
level,
etc.
¡ S-‐Subject
–
What
am
I
wri)ng
about?
§ Topic,
content,
what
to
include/leave
out
¡ S-‐Self
–
How
do
I
want
to
portray
myself
to
my
reader?
§ Tone
–
not
what
you
say,
but
how
you
say
it.
¡ S-‐Special
Requirements
–
How
should
my
paper
“look”?
What
limits
do
I
have?
§ Format,
length,
)me/due
date,
etc.
68. H T
DO... C E
A G D
T D
E E
e r”
nt
D N K
e
r es
P
A A
k ed
Na
he
N
T
s ,“
o ld
e yn
r rR
a
--G
www.desktopography.net
www.thisiscross.com
69. Purpose
Why am I writing?
Consider necessity.
Why is this an issue worth
discussing?
70. Target Audience
For whom am I writing?
Consider: Relationship to writer, demographics,
beliefs, needs, etc.
71. Subject
What am I writing about?
topic
content
what to include/exclude